English - Dramatist | July 3, 1937 -
The thing that happens remarkably often is that the people who are writing a dissertation believe they need to speak to me in order to do their dissertation. They need to interview me.
Tom Stoppard
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The more doors there are for you to open, the better the play.
BetterDoorsYouPlayMoreOpen
I'm not a theoretician about playwriting, but I have a strong sense that plays have to be pitched - the scene, the line, the word - at the exact point where the audience has just the right amount of information. It's like Occam's razor.
StrongInformationRightLinePoint
Chekhov was capable of casually tossing off deplorable comments in his letters, combined with a very modern anger against anti-Semitism.
AngerLettersCapableModernAgainst
I barely remembered my father; I'm confused between genuine memory and the few photographs that survived.
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The notion that the 'leader' has the right to ask huge sacrifices of your generation for a notional future paradise - if you'd be good enough to lie down under the wheels of the juggernaut - that sentimental and self-aggrandising rationalisation for brute force and cowardice I felt from adolescence was wrong.
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I adopted England as least as much as England adopted me.
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I don't even know what my voice is to this day.
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Possibly because I did start off as a journalist, my starting point has always been that you've got to keep an audience with you. Whatever you're doing, you always want a script to be a page-turner. It's very important never, ever, to feel above that.
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As a child, I was airlifted out of the path of the Nazis. Unfortunately, I was parachuted into the path of the Japanese, but then I was airlifted again to India.
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You should not translate for more than two hours at a time. After that, you lose your edge, the language becomes clumsy, rigid.
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Corporeal death is not the whole story.
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